• What she says:Im fine
  • What she means:Im so glad Pixar is back on top with Inside Out, not that I thought that it was actually going downhil, like some insisted to state. Not that Brave and Monsters University were bad movies, but they weren't as good as the ones the studio did till 2010. With that said Im actually so concerned with the future of the studio. After The Good Dinosaur, they don't have any original movies scheduled for the upcoming years, and Im also concerned with The Good Dinosaur itself, cause, correct me if Im wrong, as I could see from some interviews, more exactly one with the producer of Inside Out, he hinted that it wasn't going to be THAT great, and with THAT great, I mean Pixar great, just like what happened with Brave. And the sequels, oh the sequels. First, we have Finding Dory, which I want to believe that its going to be wonderful, but I just can't be sure. Finding Nemo, just like all Pixar movies leading up to Cars 2 (and exclusding Cars), its a fucking piece of art, and they can't fuck this movie up, but, after what I saw on the early 2010's, I just can't be sure. I mean, I know the whole cast, except for Nemo, cause, well, will be back, and Andrew Stanton will be back as the director, but there's no way of knowing how its going to be. Then, there is The Incredibles 2, that, just like Finding Dory, I want it to be fucking awesome, but there's no way of knowing how its going to be. Brad Bird will be writing tough, so there's that. Then there's Cars 3. Seriously? FUCKING CARS 3??? Come on, Pixar, Im trying to help you out in here. Is Disney, isn't it? They are making you do this for the merchandising, aren't they? And then, my biggest fear, Toy Story 4. They can't ruin it, they just can't! One of the best trilogies in cinema history, they can't toss it in the trash like that! John Lasster will be directing, but... I can't think about it that long or Ill start to worry. So, I want to believe in Pixar, I want to believe that they puted their crisis behind them. But I can't just state that after just one movie, after four years of lesser movies. Just... *sighs* Just don't let me down, Pixar. Don't let me down...

Dean sits beside you in the floor, annoyingly clicking his tongue as he picks up his father’s journal. He flips through the pages and clicks his tongue some more. You start to get fed up, having read the same paragraph five times since he entered the room.

He rocks back to his feet and lightly bumps you with the toe of his shoe. “Sorry.” He doesn’t sound apologetic, especially with that grin on his face. You just ignore it and finally continue to the next page.

You swing your feet a bit faster as the story picks up. You start to visualize the town a little better, seeing the story pop inside your mind. You clearly see the girl and how beautiful the book describes her as. You fall in love with the love interest, wishing you had a boy just like him.

Dean squats down beside you and nudges you. Again, you try to ignore him. He would grow bored and go somewhere else. But Dean didn’t. He picked at a strand of hair that kept finding itself in your face.

“Dean.” You warn after the third time he tried pushing the strand behind your ear. “Honey, go take a nap or something.” You plead.

Smirking, Dean knows he just won. “Nahh, I’m not tired. Unless you want to join me.”

You glare at him. “I want to finish this book. I have three chapters left and I’m not about to let some bored, grown ass man ruin this enjoyment for me. I am this close to reaching up and smacking you if you bother me one more time, Winchester.” You hold your fingers real close together for emphasis.

“You love it.” Dean smirks. “Admit it, Y/N.”

“I would love it even more if you left me alone for thirty minutes. Let. Me. Finish. My. Book.” You said through clenched teeth.

Dean held his hands up, still smirking, and got to his feet once more. “Okay, fine, heard you. But I’m going to need something extra special tonight.” He winked.

“That’s it.” You found the nearest object and threw the cellphone at Dean’s head. He sees it just in time and ducks, bumping into the wall. “Out!”

Advice: What’s Up with Writing Rules?

Anonymous asked:

Why do half the people say your story has to have a theme/goal/purpose/message but the other half say it doesn’t? One instructor says one thing, one says another. One blog says one thing, one says another. One workshop says one thing, one says another. I can’t keep track anymore and I don’t know if my story should have those things or if it doesn’t matter. Thanks.

Excellent question!

One thing you often hear about writing is that “there are no rules.” This sounds great, except for the fact that all you ever seem to hear about are rules for writing good stories. The good news is that writing rules aren’t rigid. They’re often malleable and able to be broken if you know what you’re doing. Think of them as guidelines, there to help you learn how stories work. Once you know how stories work inside and out, you’ll understand how you can do things differently. But before you can understand how to break the rules, you have to follow them so you can learn them.

At this point you might ask, “if writing rules can be broken, why do they exist at all?” which is also a great question. Writing rules exist because, after thousands of years of storytelling, certain conventions have developed as a result of what commonly works well with audiences and readers. Imagine, thousands of years ago, a wise old hunter-gatherer sitting around a fire telling a story to her tribe. A good storyteller would pay attention to the things people responded to the most. Stories that had a likable hero did well. Stories where the protagonist had a goal did better than stories where the protagonist was aimless. Stories with a certain structure were more riveting than those that meandered. So, over time, we began to conform to these rules as we told our stories, because we knew that they worked. And the truth of the matter is this: if you want to write commercial fiction, or in other words, fiction that appeals to the broadest group of readers, you generally need to stick within these time-honored conventions. Because just as it takes an expert, adventurous writer to break the rules, it takes an expert, adventurous reader to appreciate how and why the rules were broken. That’s not to say you can’t break any rules and still write popular fiction, it just means you should break them sparingly and only to great effect.

So, if you’re a new writer or are still gaining experience, stick with the rules for now. When you come to a point in a story where you really want to break a rule, if you feel comfortable enough with the rule, you’ll know whether or not you can break it. You may not know for sure if it’ll work, but you can try. The more experience you have, the more rules you’ll know how to break, and the more comfortable you’ll feel writing stories that don’t follow the usual conventions. :)


Inspired by this thing that happened earlier, here’s Warfstache in Mario and Luigi sprites. The base sprite is Luigi, specifically the Bowser’s Inside Story version, which is also where the background in the animated version came from. …Damn, I still can’t get over how smooth the animation came out. I mean, I know I was using premade sprites as a major component and they were made specifically FOR this animation, but I thought for sure that I’d accidentally place one off-kilter or something. XD

Original spritework © Nintendo/AlphaDream
Wilford Warfstache © markiplier
Warfigi sprites edited by myself

Teens are abandoning TV in droves

TV is still the number-one medium where people spend their time. But over the last five years the amount of time Americans aged 12 to 17 spend watching TV has dropped more than 25%, from more than 24 hours at the beginning of 2011 to less than 18 hours at in the first quarter of 2015.

Full Story: Business Insider

anonymous asked:

Hey Bowz, we all know you like any game that has you in it, but which Mario game is your favorite one?



(via White People Commit the Most Heinous Crimes, So Why Is America Terrified of Black Men? | Alternet)

White People Commit the Most Heinous Crimes, So Why Is America Terrified of Black Men?

The new book “Suspicion Nation” addresses the Trayvon Martin injustice and why we keep repeating it.By

Lisa Bloom / Counterpoint Press May 13, 2014

Editor’s Note: The following is an excerpt from Suspicion Nation: The Inside Story of the Trayvon Martin Injustice and Why We Continue to Repeat It. Copyright © 2014 by Lisa Bloom. Reprinted with permission of Counterpoint Press.

Underlying much of that subconscious racial bias is the most enduring, corrosive racial stereotype in America: the black-as-criminal mindset. Historian David Levering summarizes it:  “Whites commit crimes but blacks are criminals.” While whites can and do commit a great deal of minor and major crimes, the race as a whole is never tainted by those acts.  But when blacks violate the law, all members of the race are considered suspect.   used to anchor a show on Court TV, and when we heard about a new arrest for some horrific crime, my African American co-host would whisper, “Please don’t let him be black.”  It would never enter my mind to wish that a bad guy not be white, because no matter how sick the crime, other members of the white race are not impugned.

Remember Zimmerman’s false syllogism? A few blacks committed burglary, Trayvon was black, therefore Trayvon was a criminal.  Similar logic is used daily in the assumptions police and citizens make about African Americans, especially young males.

The black-man-as-criminal stereotype runs deep.  The archetype is so prevalent that the majority of whites and African Americans agreed with the statement “blacks are aggressive or violent” in a national survey.  In support of these findings, other research indicates that the public generally associates violent street crime with African Americans. Other nationwide research has shown that the public perceives that blacks are involved in a greater percentage of violent crime than official statistics indicate they actually are.

Notice how the reasoning about race runs right to insulting conclusions (blacks are criminals), but never to positives, which would be equally (il)logical.  No one thinks:

  1. Barack Obama is our president, and he’s African American.
  2. That kid walking down the street is African American.
  3. He’s probably a future president!

The standard assumption that criminals are black and blacks are criminals is so prevalent that in one study, 60 percent of viewers who viewed a crime story with no picture of the perpetrator falsely recalled seeing one, and of those, 70 percent believed he was African American. When we think about crime, we “see black,” even when it’s not present at all.

Keep reading


Whenever I run into you at some event or another, and you’re with one of your friends, I always lowkey liked hearing you introduce me as a childhood friend.

So I thought it was amusing when one time, you said, “This is my childhood acquaintance.”

“A downgrade?!”, I thought.

Haha, it was unexpected, but I came to realize it’s more accurate. But sometimes I wonder what it would’ve been like, if you stayed, if you didn’t change schools. Maybe we really would’ve been childhood friends. We’d have stories and inside jokes. Maybe I would’ve read your writing. Maybe I wouldn’t have had a crush on you. Or maybe I would have fallen for you, deeply.

But in the end, what you were to me, the boy who spent his recesses sitting in the dirt, fiddling with sticks and pebbles, was the first girl to reach out to play with me. I was scared of playing with others. You were one of my first friends. I didn’t feel lonely anymore. I don’t know if things would’ve been better if you stayed, but I like you, the way you are now.

You were the warmth of my childhood days.

For that, thank you.


auntiewolfharley asked:

It had been many centuries since anyone had been outside the forests. Many didn't travel this far due to fear of what was unknown inside though many stories surrounding them. If one bothered to come at night, they might see a distant glow deep in the woods. Maybe even see the owner of that glow, who was now watching the battle taking place before her eyes, through a mask over her face. as her people below her watched from the shadows and awaited her word.

A war god and the men and women who followed him had been waging war on a one eyed god and his followers as the battle field raged with fires and the blooded corpses of those who had fallen in the conflict


A little over a year ago we adopted our boy. He was A 2 year old Airedale Terrier with a ton of personality. We are his 4th and final set of parents. Album and story inside

The tragically powerful story behind the lone German who refused to give Hitler the Nazi salute

August Landmesser refused to do the “Sieg Heil” salute during a Nazi rally on June 13, 1936.

Adopted by the Nazi Party in the 1930s, Hitler’s infamous “sieg heil” (meaning “hail victory”) salute was mandatory for all German citizens as a demonstration of loyalty to the Führer, his party, and his nation.

August Landmesser, the lone German refusing to raise a stiff right arm amid Hitler’s presence at a 1936 rally, had been a loyal Nazi.

Landmesser joined the Nazi Party in 1931 and began to work his way up the ranks of what would become the only legal political affiliation in the country.

Two years later, Landmesser fell madly in love with Irma Eckler, a Jewish woman, and proposed marriage to her in 1935.

Irma Eckler.

After his engagement to a Jewish woman was discovered, Landmesser was expelled from the Nazi Party.

Landmesser and Eckler decided to file a marriage application in Hamburg, but the union was denied under the newly enacted Nuremberg Laws.

The couple welcomed their first daughter, Ingrid, in October 1935.

And then on June 13, 1936, Landmesser gave a crossed-arm stance during Hitler’s christening of a new German navy vessel.

The act of defiance stands out amid the throng of Nazi salutes.

In 1937, fed up, Landmesser attempted to flee Nazi Germany to Denmark with his family. But he was detained at the border and charged with “dishonoring the race,” or “racial infamy,” under the Nuremberg Laws.

A year later, Landmesser was acquitted for a lack of evidence and was instructed to not have a relationship with Eckler.

Refusing to abandon the mother of his child, Landmesser ignored Nazi wishes and was arrested again in 1938 and sentenced to nearly three years in a concentration camp.

He would never see the woman he loved or his child again.

The secret state police also arrested Eckler, who was several months pregnant with the couple’s second daughter. She gave birth to Irene in prison and was sent to an all-women’s concentration camp soon after her delivery.

Eckler is believed to have been transferred to what the Nazi’s called a “euthanasia center” in 1942, where she was killed with 14,000 others. After his prison sentence, Landmesser worked a few jobs before he was drafted into war in 1944. A few months later, he was declared missing in action in Croatia.